Fright Club: Best Horror 2000 – 2009

We have a new winner! Prior to this time travel cataloging exercise, we embraced the misunderstanding that the 1970s offered the best in horror. Nope. Pruning our list of the horror films released between 2000 and 2009 to just five proved honestly impossible. It was so hard! Too hard, actually, so we cheated: we are going to give a quick nod to the top 5 that didn’t make the list, and then we’re going to make #5 a tie. It had to be done!

TIE! 5. Wolf Creek (2005)

Using only digital cameras to enhance an ultra-naturalistic style, writer/director Greg McLean’s happy backpackers find themselves immobile outside Wolf Creek National Park when their car stops running. As luck would have it, friendly bushman Mick Taylor (John Jarratt) drives up offering a tow back to his camp, where he promises to fix the vehicle.

If this sounds predictable and obvious to you, rest assured that McLean has plans to burst every cliché in the genre, and he succeeds on almost every level.

His first triumph is in the acting. Jarratt’s killer is an amiable sadist who is so real it’s jarring. You find yourself hoping he’s an actor.

A horror film this realistic is not only hard to watch, but a bit hard to justify. What makes an audience interested in observing human suffering so meticulously recreated? This is where, like a true artist, McLean finally succeeds. What is as unsettling as the film itself is that its content is somehow satisfying.

TIE! 5. 28 Days Later (2002)

Activists break into a research lab and free the wrong fucking monkeys.

28 days later, bike messenger Jim wakes up naked on an operating table. What follows is the eerie image of an abandoned, desolate London as Jim wanders hither and yon hollering for anybody. In the church, we get our first glimpse of what Jim is now up against, and dude, run!

Prior to 28 Days Later, the zombie genre seemed finally dead and gone. But Danny Boyle single handedly resurrected the genre with two new(ish) ideas: 1) they weren’t dead, 2) therefore, they could move really quickly. Like Romero, though, director Danny Boyle’s real worry is not just the infected, it’s the living.

Danny Boyle is one of cinema’s visionary directors, and he’s made visceral, fascinating, sometimes terrifying films his entire career – Shallow Grave, Trainspotting, Millions, 127 Hours – but 28 Days Later is certainly his one true horror film. And it is inspired.

4. The Ring (2002)

The Ring – thanks in large part to the creepy clever premise created by Koji Suzuki, who wrote the novel Ringu – is superior to its source material principally due to the imagination and edge of fledgling director Gore Verbinski. His film is visually arresting, quietly atmospheric, and creepy as hell.

This is basically the story of bad mom/worse journalist Rachel (Naomi Watts) investigating the urban legend of a video tape that kills viewers exactly seven days after viewing.

The tape itself is the key. Had it held images less surreal, less Bunuel, the whole film would have collapsed. But the tape was freaky. And so were the blue-green grimaces on the dead! And that horse thing on the ferry!

And Samara – from plump-cheeked cherub to ghastly figure crawling from your TV…yikes.

Sure, it amounts to an immediately dated musing on technology. But still, there’s that last moment when wee Aidan (a weirdly perfect David Dorfman) asks his mom, “What about the people we show it to? What happens to them?”

At this point we realize he means us, the audience.

We watched the tape! We’re screwed!

3. The Loved Ones (2009)

Writer/director/Tasmanian Sean Byrne upends high school clichés, maneuvering between gritty drama and neon colored carnage in a story that borrows from other horror flicks but absolutely tells its own story.

Brent (Xavier Samuel) is dealing with guilt and tragedy in his own way, and his girlfriend Holly tries to be patient with him. Oblivious to all this, Lola (a gloriously wrong-minded Robin McLeavy) asks Brent to the end of school dance. He politely declines, which proves to be probably a poor decision.

The Loved Ones is a cleverly written, deeply disturbed piece of filmmaking that benefits from McLeavy’s inspired performance as much as it does its filmmaker’s sly handling of subject matter.

2. The Descent (2005)

A caving expedition turns ugly for a group of girlfriends who will quickly realize that being trapped inside the earth is not the worst thing that could happen.

Writer/director Neil Marshall (Dog Soldiers) must be commended for sidestepping the obvious trap of exploiting the characters for their sexuality – I’m not saying he avoids this entirely, but for a horror director he is fantastically restrained. He also manages to use the characters’ vulnerability without patronizing or stereotyping.

He makes even better use of the story’s structure. Between that and the way film and sound editing are employed, Marshall squeezes every available ounce of anxiety from the audience. Long before the first drop of blood is drawn by the monsters – which are surprisingly well conceived and tremendously creepy – the audience has already been wrung out emotionally.

The grislier the film gets, the more primal the tone becomes, eventually taking on a tenor as much like a war movie as a horror film. This is not surprising from the director that unleashed Dog Soldiers, but Marshall’s second attempt is far scarier. For full-on horror, this is one hell of a monster movie.

1. Let the Right One In (2008)

In 2008, Sweden’s Let the Right One In emerged as an original, stylish thriller – and the best vampire flicks in years. A spooky coming of age tale populated by outcasts in the bleakest, coldest imaginable environment, the film breaks hearts and bleeds victims in equal measure.

Kare Hedebrant‘s Oskar with a blond Prince Valiant cut falls innocently for the odd new girl (an outstanding Lina Leandersson) in his shabby apartment complex. Reluctantly, she returns his admiration, and a sweet and bloody romance buds.

This is a coming of age film full of life lessons and adult choices, told with a tremendous atmosphere of melancholy, tainted innocence, and isolation. Plus the best swimming pool carnage scene ever.

The unsettling scene is so uniquely handled, not just for horrifying effect (which it certainly achieves), but to reinforce the two main characters, their bond, and their roles. It’s beautiful, like the strangely lovely film itself.